A Conductor's Guide to Ariel Ramirez's Misa Por La Paz Y La
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Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 4-6-2018 A Conductor's Guide to Ariel Ramirez's Misa Por La Paz y La Justicia Andrew David Alegria Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Performance Commons Recommended Citation Alegria, Andrew David, "A Conductor's Guide to Ariel Ramirez's Misa Por La Paz y La Justicia" (2018). LSU Doctoral Dissertations. 4549. https://digitalcommons.lsu.edu/gradschool_dissertations/4549 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A CONDUCTOR’S GUIDE TO ARIEL RAMÍREZ MISA POR LA PAZ Y LA JUSTICIA A Monograph Submitted to the Graduate Faculty of Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Andrew D. Alegría B.M., Baylor University, 2003 M.M., University of New Mexico, 2012 May 2018 ACKNOWLEDGEMENTS In 2012, I accepted a job as choir director at a small, bilingual Presbyterian church in the Sandia Mountains of New Mexico. The church is in the village of Placitas, New Mexico, which is about 20 miles northeast of Albuquerque. Las Placitas Presbyterian Church (LPPC) was first established in 1894 as a Spanish mission church. Today it still retains its Spanish heritage with a blended service of Spanish and English. During my employment at LPPC I was introduced to Ariel Ramírez’s Navidad Nuestra. The work is a Christmas Cantata that describes the Nativity scene. After this experience, I began to listen to other choral works by Ariel Ramírez. When I came across Misa Por La Paz y La Justicia, his second Mass composed in the early 1980’s, I was intrigued by the incorporation of folk music and folk tunes as they were blended into both the Mass of the Ordinary and the Mass of the Proper. My journey to a deeper understanding of Ramírez’s Misa Por La Paz y La Justicia has been a joyous one. There are several individuals to whom I would like to express gratitude for their discussions with and emails to me. In Argentina, Inés Cuello de Ramírez, widow of Ariel Ramírez, wrote to me about her late husband. I also want to thank Rig Mutchler at Stichting Argentijnse Muziek in the Netherlands for his many responses to my emails about this choral work. I also want to acknowledge the contributions of others who assisted me with preparing this monograph. In Louisiana, Dr. June Thomas spent countless hours on editing my monograph. I also want to thank my colleagues at Clarke University for their assistance: Dr. Evelyn Nadeau, Professor of Spanish, reviewed my translations and Dr. Amy Dunker, Professor of Music, who reviewed my music analysis. ii I would not be the musician I am today without the mentors who guided me through my music path. Professor Bradley Ellingboe (University of New Mexico) gave me many opportunities to conduct different types of choral ensembles. Dr. John Dickson (Louisiana State University), made me a stronger conductor through his graduate choral conducting program. I also wish to thank those who laid my music foundation at an early age. Fr. Mario Galindo, former teacher at South Park Middle School, taught me the importance of making music. Mr. Ferris Arnold, former teacher at Mary Carroll High School, provided the guidance and instructional foundation of my musicianship, along with the countless private lesson teachers and educators that helped me throughout my middle and high school years. Finally, I would like to thank my family. Many thanks go to my aunts and uncles who made phone calls and sent me “Ofrendas de Amor” (Offerings of Love) and to my parents for all their love and support. Thank you, Mom and Dad, for always believing in me. I could not have done this without your support. iii TABLE OF CONTENTS ACKNOWLEDGMENTS ………………………………………………………………………..ii LIST OF TABLES …………………………………………………………………………….....vi LIST OF FIGURES …………………………………………………………………………......vii ABSTRACT ………………………………………………………………………………………x CHAPTER 1. ARIEL RAMÍREZ BIOGRAPHY ……………….………………………………1 CHAPTER 2. MISA POR LA PAZ Y LA JUSTICIA: GENESIS ………………………………...10 CHAPTER 3. MISA POR LA PAZ Y LA JUSTICIA: ANALYSIS OF TEXT …………………..17 Introducción …………….……………………………………………………………….18 Señor, ten piedad de nosotros (Kyrie) …………………………………………...............19 Gloria a Dios (Gloria)………………………………………………………...………….22 Salmo responsorial ………………………………………………………………………23 Aleluia …………………………………………………………………………...............25 Homilía ………………………………………………………………………………….26 Creo en Dios (Credo) ……………………………………………………………………27 Santo es el Señor (Sanctus) ……………………………………………………...............28 Cordero de Dios (Agnus Dei) ……………………………………………………………29 Comunión ………………………………………………………………………………..29 Salmo 150 ……………………………………………………………………………….30 CHAPTER 4. MISA POR LA PAZ Y LA JUSTICIA: ANAYLYSIS OF MUSIC ………….…...32 Introducción …………….……………………………………………………………….33 Señor, ten piedad de nosotros (Kyrie) …………………………………………...............35 Gloria a Dios (Gloria)…………………………………………………………................38 Salmo responsorial ………………………………………………………………………43 Aleluia …………………………………………………………………………...............47 Homilía ………………………………………………………………………………….49 Creo en Dios (Credo) ……………………………………………………………………51 Santo es el Señor (Sanctus) ……………………………………………………...............53 Cordero de Dios (Agnus Dei) …………………………………………………................56 Comunión ……………………………………………………………………..................56 Salmo 150 …………………………………………………………………….................58 CHAPTER 5. MISA POR LA PAZ Y LA JUSTICIA: FOLK MUSIC ………………....................61 Baguala ………………………………………………………………………………….63 Cueca ……………………………………………………………………………………64 Triste …………………………………………………………………………………….66 Ritmo Toba ………………………………………………………………………………67 Zamba …………………………………………………………………………...............68 iv Malambo ………………………………………………………………………...............69 Bailecito ……………………………………….………………………………...............70 Estilo Pampeano ……………………………..………….………………………………71 Chacarera ……………………………………………………………………………….72 Instruments in Misa Por La Paz y La Justicia …………………………………………..73 Wind Instruments ………………………………………………………………………..74 String Instruments ……………………………………………………………………….76 Percussion Instruments ………………………………………………………………….79 Keyboard Instruments …………………………………………………………...............86 CHAPTER 6. MISA POR LA PAZ Y LA JUSTICIA: CONDUCTING AND REHEARSAL ISSUES ……………………………………………………………………………….…………89 Introducción: ……………………………………………………………………………89 Señor, ten piedad de nosotros (Kyrie) …………………………………………...............94 Gloria a Dios (Gloria)…………………………………………………………................96 Salmo responsorial ……………………………………………………………................98 Aleluia ………………………………………………………………………………….102 Homilía ………………………………………………………………………...............104 Creo en Dios (Credo) …………………………………………………………………..107 Santo es el Señor (Sanctus) …………………………………………………………….109 Cordero de Dios (Agnus Dei) …………………………………………………………..111 Comunión ………………………………………………………………………………152 Salmo 150 ……………………………………………………………………...............116 CHAPTER 7. CONCLUSION …………………………………………………………….......121 BIBLIOGRAPHY………………………………………………………………………………123 DISCOGRAPHY ………………………………………………………………………………126 APPENDIX 1. ABOUT THE CREATION OF MISA POR LA PAZ Y LA JUSTICIA …….……….127 2. MISA POR LA PAZ Y LA JUSTICIA: TEXT AND TRANSLATION ……………..128 3. MISA POR LA PAZ Y LA JUSTICIA: INTERNATIONAL PHONETIC ALPHABET (IPA) …………………………………………………………….........134 4. MISA POR LA PAZ Y LA JUSTICIA: FIRST RECORDING AND PERFORMANCES …………………………………………………………..147 VITA …………………………………………………………………………………………...148 v LIST OF TABLES Table 1.1. Ariel Ramírez’s Leadership Positions ………………………………………………...8 Table 1.2. Song styles and dance rhythms in Misa Criolla ………………………………………9 Table 1.3. Song styles and dance rhythms in Navidad Nuestra …………………………………..9 Table 3.1. Three-fold Kyrie …………………………………………………………………….20 Table 3.2. Two-fold Christe …………………………………………………………………….21 Table 3.3. Two-fold Kyrie …………………………………………………………………...….22 Table 4.1. A Herford analysis on Misa Por La Paz y La Justicia: Introducción ………………...33 Table 4.2. A Herford analysis on Misa Por La Paz y La Justicia: Señor ten piedad …………..35 Table 4.3. A Herford analysis on Misa Por La Paz y La Justicia: Gloria a Dios ……………...38 Table 4.4. A Herford analysis on Misa Por La Paz y La Justicia: Salmo reponsorial …………43 Table 4.5. A Herford analysis on Misa Por La Paz y La Justicia: Aleluia …………………….47 Table 4.6. A Herford analysis on Misa Por La Paz y La Justicia: Homilía …………………....49 Table 4.7. A Herford analysis on Misa Por La Paz y La Justicia: Creo en Dios ………………51 Table 4.8. A Herford analysis on Misa Por La Paz y La Justicia: Santo es el Señor …………..53 Table 4.9. A Herford analysis on Misa Por La Paz y La Justicia: Cordero de Dios …………...56 Table 4.10. A Herford analysis on Misa Por La Paz y La Justicia: Comunión ………………..56 Table 4.11. A Herford analysis on Misa Por La Paz y La Justicia: Salmo 150 ………………..58 Table 5.1. Song styles and dance rhythms in Misa Por La Paz y La Justicia …………………..63 Table 5.2. Use of the piano in Misa Por La Paz y La Justicia ………………………………....88 vi LIST OF FIGURES Figure 4.1. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,” mm. 1-10. ……….34 Figure 4.2. Ariel Ramírez, Misa Por La Paz y La Justicia, “Introducción,”